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Yes, Robert, it is mostly preprogrammed loops usually used in hip hop and rap. I checked it out a few years ago but decided not to use it because I was writing my own material and couldnt find a way that I needed it. If you are looking for something specific just ask. Chances are I know what to use or have tried a trial version. Let me know if I can help in any way.

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As I cannot afford an Apple computer, I put together a "hackintosh" and bought all the software I needed, including the OS, LogicX, etc. No worries about viruses that plague the PC world, and my machine works like a charm. Although I miss recording...

We get asked a lot here at GTPS, â€œWhat is the best music software?â€ Fortunately, there are many possible answers, depending on your musical style, your preferred workflow, budget, level of experience with music software, and even GUI/visual preferences.

One of the first series posts I ever wrote for GTPS was titled â€˜How To Choose The Best DAW For Youâ€™ â€“ itâ€™s a fundamental decision for every aspiring producer, and one that needs to be revisited every once in a while, both as your own skills and software demands increase, and as the range of available DAW platforms and solutions develops.

Of course things have changed significantly in the DAW landscape in the last few years. One highlight has been Ableton Live spearheading a new live/performance/studio paradigm that began to properly blur the lines between those previously separate realms. Now we have the new Bitwig Studio pointing towards the future; Pro Tools is back on form with version 11; and Logic X quietly continues to garner praise.

So, leaving mobile music-making apps for a later post, hereâ€™s our run-down of 15 of the very best digital audio workstations available in 2014:

First appearing in 2001 but really becoming a contender as a serious production solution in the competitive audio software market in the last seven or eight years, Live revolutionized our conception of what we could consider a DAW to be. Blurring the line between studio production tool and live/DJ performance tool, it caught the more-established DAW manufacturers on the hop â€“ in recent years theyâ€™ve mostly caught up again, introducing their own versions of many of Liveâ€™s best-loved features, including fast, auto-time-stretching and arrangement workflows that mean we can finally make whole tracks on the fly by jamming with elements in real time.

The new kid on the block, Bitwig Studioâ€™s arrival has been causing quite a stir â€“ itâ€™s not often that a completely new DAW enters the fray. Bitwig seems to be a logical progression from the leaps made by Live over the last few years â€“ indeed, it was created by former Ableton developers. Whilst not sharing any actual code DNA with Live, the layout features integrated Clip and Arrange windows that hint at an effort to bridge between Liveâ€™s innovative functionality and more traditional sequencing. We recommend you demo this one.

A firm favourite amongst aspiring electronic producers, FL Studio has developed hugely from fairly humble origins (the step sequencing Fruity Loops) into a fantastic, fully-featured DAW. Version 11 saw the introduction of Performance Mode, where you can trigger Playlist Clips from a laptop, MIDI controller or touchscreen, and a host of new plugin effects and instruments (Image-Lines stand-alone plugins are always worth checking out).

One of the earliest entrants on the MIDI sequencing scene back in 1987, Cakewalk brought out the first version of SONAR in 2007, and itâ€™s continued getting better with each new â€˜Xâ€™ release. Standout inclusions in the SONAR X3 package include versions of Overlouds TH2 amp simulator for guitarists and their great reverb plugin Breverb. The excellent pitch-shifting software Melodyne is also integrated into Studio and Producer editions, and the amazing Console Emulator (emulating three classic mix consoles) in the Producer editions ProChannel plugin.

Another of the longest-serving DAWs available, Logic has been developed beyond recognition from its pure MIDI roots. With X, Logic finally underwent some overdue cosmetic and functionality overhaul, consolidating what it has always been good at and adding a ton of new plugins, MIDI effects and feature enhancements. A natural step up from Garageband for developing producers, but also so much more than that â€“ a truly professional solution.

Another of the original DAWs, Cubase was my own introduction to music production. Like Logic Pro, itâ€™s done a good job of keeping up with the younger competitors, and has more than a few genuine innovations lurking amongst itâ€™s huge feature set. Oftentimes, the fact that a software solution has been through as many iterations and developments, and ridden the waves of trends and new production paradigms as Cubase has, proves itâ€™s one of the best solutions available.

A familiar design and basic workflow to anyone who uses Cubase, Nuendo is designed primarily as a tool for post-production audio for picture: sound design, dialogue and mixing for movies and TV. Pro Tools had this market completely sown up a few years ago (some would argue it still does), but Nuendo is one of the only alternatives to have made much of an impact â€“ many top post-production studios and technicians now base their core systems around Nuendo instead. Why? Simply that itâ€™s at least as good as the â€˜industry standardâ€™.

ACIDâ€™s strength is itâ€™s relatively straightforward, loop-based sequencing style. For those put off by the complexity of Liveâ€™s (and others) all-singing, all-dancing features set and interface, Sonyâ€™s DAW could be a boon. Itâ€™s particularly popular with sound editors and post-producers of low-budget video projects for exactly this reason.

The big daddy, â€˜industry standardâ€™ DAW, â€˜Pro Toolsâ€™ is virtually a household name â€“ the â€˜Hooverâ€™ or â€˜Biroâ€™ of professional music recording. In fact, a few versions back Pro Tools was in danger of permanently losing itâ€™s reputation as the deserved industry leader, but with version 11 any niggling doubts over Pro Tools legitimacy have been well and truly put to rest. Found in every professional facility.

Reason users are fairly evangelical about their chosen DAW: after all, it does everything, and in a fun and stylish way. Even the limitations of earlier versions â€“ lack of third-party plugin support and inability to record audio â€“ have now been resolved, making it basically impossible to find significant fault with Reason at all. An entire virtual studio (it even includes the virtual patch cables for hooking everything together) in a single software package: very enticing.

Presonus were previously best known for their hardware mixing consoles and audio interfaces, but in 2010 they released a brand new DAW, Studio One. Now on version 2.6, Studio One is a very solid platform that feels a lot more mature and developed than itâ€™s age suggests. Highlights include built-in Melodyne pitch editing, and the OpenAIR convolution reverb plugin.

Digital Performer is another well-established DAW, and this one likes to do things itâ€™s own way. In terms of features and functionality it holds itâ€™s own against any of itâ€™s rivals, but the way the various windows, views and workflows operate can take a bit of getting used to if youâ€™re more familiar with, say, Cubase or Logic. That said, itâ€™s a powerful beast and definitely worthy of consideration.

Magix are probably better known for their more entry-level audio software, but at the business end of their range youâ€™ll find Samplitude Pro X â€“ a serious, feature-packed DAW that is well worth checking out.

Much like a Garageband for PC users, Mixcraft is a great solution for those starting out and on a budget. It comes bundled with 6,000 loops and a host of decent plugins, and can now run as a Rewire host for linking to other software, effects and instruments.

REAPER (Rapid Environment for Audio Production, Engineering, and Recording) has an unusual pricing and distribution method, being available only from the official website, and with a pricing structure that relies on the honesty of the user. That said, thereâ€™s nothing cut-price about the power or feature-set of this DAW, and itâ€™s become massively popular even without the marketing campaigns and exposure afforded competing products. Well worth checking out.